Photos of the Week - What’s New in the Studio: Autumn Vibrations
Updated on 27 June 2026
Here we are already: it is the last week of our monthly cycle. To conclude this visual adventure, it’s the turn of What’s New in the Studio. This is often where I gather my most recent work, my lighting research or my technical favourites. Whether complex portraits or cinematic stagings, this category is the laboratory of my latest inspirations. It is my way of ending the month with you on a strong, creative note.
Autumn VibrationsWhen plant matter sculpts the silhouette in the studio. |
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What’s New in the Studio: Autumn Vibrations Autumn Vibrations - when plant matter sculpts the silhouette in the studio.
Autumn has this unique particularity: it dims the bright colours outdoors to revive the depth of materials and the richness of textures. For this new studio series, I wanted to reverse the usual process. Instead of going out to look for nature, I brought the humus, the crunch and the roughness of the forest right inside my four black walls. We poured whole sacks of dead leaves onto the set. The smell of wet earth, the golden dust hanging in the air and the fragility of these plant fragments immediately turned the working atmosphere into an organic laboratory.
My obsession in this session was purely plastic, almost tactile. I wanted to sculpt the physical meeting between the smooth softness of skin and the brittle irregularity of the dried leaf, true autumn vibrations.
As an art photographer, I always think of the set as a sculpture workshop where light acts as the chisel that frees the volumes. For this project, I banned overly diffuse lighting. I opted for a raking light, a warm, dense gold, produced by a spotlight placed at floor level to mimic the sun of a waning October. This direction of light came to lick the contours, giving incredible relief to the slightest grain of the skin and heightening the veins of the vegetation.
The technical challenge lay in managing shadows and chiaroscuro. Each movement of the model produced a dry crack, a rustle that dictated the rhythm of the shoot. The silhouette must not be absorbed by the dark mass of the carpet of leaves, nor stand out from it in too artificial a way. We worked in total collaboration to find lines of force where the model embodies a serene power, far from any passivity. It is precisely this symbiosis between the strength of human presence and the fragility of decomposing nature that sets up the dreamlike quality of the image.
This intense chromatic dialogue between the bronze of the leaves and the gold of the skin defines exactly my vision of the art of the nude: an exploration of pure form where the artistic nude moves away from the mere gaze to become a vibrant work. A textured immersion that I invite you to discover today.
To see this week’s exhibitions or all of my work, here are the options:
And so our month in images comes to an end. I hope you enjoyed discovering these four series as much as I enjoyed creating them. If you missed an episode or want to dive without limit into all of these galleries (and the previous ones), the Pass remains the best way to support my work and miss nothing. Thank you for your loyalty, and see you next month for new stories!
Yohann
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